In the picture below, I would like to give Oboe 1 a cue from the Clarinet in A 1, that (as they usually do) only turns up in the parts. The problem is that the music in the clarinet contains a temporary time signature of 2/4 to run simultaneously and polyrhythmically with the rest playing 6/8 (made possible in Dorico with the famous upbeat-plus-hidden-tuplets-and-time-signatures hack), and when using the cue feature the time signatures are not included in the cue, and also, as it turns out, you can’t hide time signatures on a per Layout basis.
I realize that renotating the cue into actual tuplets is possible. However, even though it should sound the same, I’d like the musicians to be able to communicate with each other without confusion. E.g:
Oboe 1: (to Clarinet 1) Could you please play your quadruplets a little bit louder?
Clarinet 1: Wait, what? I don’t have quadruplets!
Maybe you’re right. Although, personally, I would be rather annoyed if I discovered that the notation was inconsistent, especially since the consistent alternative would be seemingly simple to notate “by hand”. I guess we’ll just have to agree to disagree (and preferably get back to the main question that is how rather than if ) .
I have indeed never heard of a conscious cue. Jokes aside though, would you please clarify what you mean?
Thanks for your suggestions! I ended up following @Craig_F:s advice, namely scaling the time signatures to 1%. Crude but effective! I have not yet dived into the world of MusGlyphs, but from what I have seen it seems like a very handy tool for many unusual engraving situations, and I am sure I will use it some day.
Not sure what I was thinking last night. But this step was a bit heavy handed. All that was needed was to Propagate Properties on the hidden Tuplets. Or make sure the Global property is set before hiding them.
Yes, in fact, the tuplets in the image were already propagated, so I only had to do your first step. I usually work in “Global” mode while inputting the music, and switch to “Local” mode while doing the necessary adjustments for the score and parts afterwards.